By Mike Rankin | Thursday, February 12, 2015
Imagine you’re a designer laying out a 500-page book in InDesign, with all kinds of page types—various front matter, end matter, body text, chapter openers, etc.
Would you try to build each of those pages manually, starting with a blank page every time? Or would you reach for a tool that would allow you to easily create all those pages with the speed and consistency of professional-quality work?
Fortunately, just such a tool exists in InDesign: master pages.
In this article, I’m going to show you how InDesign master pages work.
You can also watch my lynda.com course Creating Long Documents with InDesign CC for a complete long-document workflow—including how to use master pages.
By Lauren Harmon | Tuesday, February 10, 2015
In honor of Valentine’s Day, the most romantic of holidays, Deke takes the silky smooth photograph of the island he distilled from grainy GoPro footage in last week’s episode of Deke’s Techniques, and fine-tunes it in Photoshop CC.
The result? A romantic landscape that will carry you away… even in the dead of winter.
By David Blatner | Thursday, February 05, 2015
Sometimes you want to use one layout as the starting point for the next, and you need to get rid of text and graphics while keeping all your frames.
In this short InDesign Secrets episode, I’ll give you a few tips for deleting content quickly.
By Starshine Roshell | Thursday, February 05, 2015
Get to know the art director, designer, writer, photographer, and professor who teaches our Foundations of Typography series.
A former design director at Time Magazine, Ina Saltz authored the Body Type books on typographic tattoos and co-authored the award-winning book Typography Referenced: A Comprehensive Visual Guide to the Language, History and Practice of Typography.
Her favorite typefaces are Requiem, Bickham Script, and Franklin Gothic No. 2, and her favorite characters are &, Q, Z, and R.
In this Q&A, Ina tells us about her favorite teachers (she worked with Hermann Zapf!), and why typography matters.
By Lauren Harmon | Tuesday, February 03, 2015
Need to salvage grainy video from your GoPro camera or smartphone? In this week’s Deke’s Techniques, you’ll see how to smooth away the visual noise from low-light or low-quality movies and walk away with a single stunning image, using Photoshop stack modes.
By Anne-Marie Concepción | Thursday, January 29, 2015
Make it easier to work with captions—with these InDesign Secrets.
In this week’s video, I’ll show you how to keep your captions in InDesign looking consistent from page to page in a magazine spread or any other long document.
By Lauren Harmon | Tuesday, January 27, 2015
When you create vibrant, continuous color artwork (like the flowering origami pattern shown in last week’s episode of Deke’s Techniques), you inevitably encounter problems when it comes to printing.
In particular, you might see banding in areas where colors transition and a general darkening effect. But it’s not a calibration problem; it’s a gamut problem.
The colors you see on your monitor aren’t always printable—even on sophisticated printers. When it comes down to it, you’re better off modifying the artwork than trying to tinker around with inks.
In this week’s free video, Deke shows how to correct brightness for print by taking your vector artwork into Photoshop, where you can better isolate and control the corrections.
By John Derry | Saturday, January 24, 2015
The digitally driven confluence of art, photography, and ink-jet technology has resulted in an explosion of artworks on paper.
In many respects, the fine-art ink-jet print is the 21st century equivalent of a hand-produced stone lithograph. Using digital tools, photographers and artists can now create archival-quality prints for sale.
One tradition of the hand-made fine-art print is the deckled edge. Once considered an imperfection as the byproduct of the hand-made paper-making process, this feathery, unfinished edge now makes an archival ink-jet print appear even more valuable.
Here’s how to add deckled edges to your prints.
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